John Shelley's Blog, page 16
March 25, 2012
Bologna Book Fair 2012
With a picture book deadline around the corner I wasn't sure I'd be able to get away to Bologna this year, but thank goodness I did go, it was an excellent Fair. As one of the organisers of the SCBWI Illustrator's Display Portfolio my involvement in the Fair began several months ago. Just before flying I was interviewed for the Cynations blog, before putting paint brushes aside and jumping on a plane to Bologna.
Day 1. With Bridget Strevens and Babette Cole during the British Isles Showcase at the SCBWI Stand
I arrived in the middle of the first day of the Fair and went straight from the airport to the SCBWI stand, anticipating the pace would gradually build up during the afternoon. Much to my surprise though the stand was already surrounded by a large crowd of people, from fellow SCBWI volunteers to publishers and other professionals. Bologna was off to a very hectic start! Monday was actually the busiest day for me, as I had a solid afternoon of meetings in quick succession, but Tuesday was also very tightly scheduled, it wasn't until the third day of the Fair that I really had chance to relax a little and spend time exploring the halls.
SCBWI had a very brisk Bologna, with a full daily programme of events and showcases throughout the Fair. This year we were blessed by the presence of president Lin Oliver, over from Los Angeles, who on Tuesday gave an inspiring talk at the Author's Cafe hosted by SCBWI International Coordinator Kathleen Ahrens.
Day 2. Lin Oliver at the Author's Cafe
On Wednesday I and several other illustrators performed sketching duels at the Stand. I was up against worthy opponents Bridget Strevens and Barbara McClintock, illustrating a story by Angela Cerrito, but I also provided an unscheduled acoustic guitar soundtrack to the Paul O. Zelinsky vs Bob Barner duel! It was a lot of fun for all involved.
Barbara McClintock, B&B share and opponent (with Bridget) at the Duelling Illustrators event.
Outside SCBWI the highlights of this year for me were the wonderful display of the Portugese Illustrators in the entrance hall, which I thought far superior to the Bologna Illustrators Show. Not only the illustrations, but the presentation was just lovely. Each red suitcase box was like a doorway into another fantastic world.
Portugal was Showcase country in the main entrance.
Another memorable experience was the Cambridge School of Art stand in Hall 25, surprising not only for the enterprising way an art college pooled together resources to run a stand at the Fair, but also the quality of the work on show. Under the auspices of director Martin Salisbury post-grad students put on a terrific display of sophisticated dummies and sometimes published works. It was a real shot in the arm for children's books in the UK - to my eyes the kind of work that should be published in the UK, rather than the all-too often bland selection of commercial titles on show at the stands.
Equally fascinating was the group exhibition Di Mano in Mano (From Hand to Hand 手から手へ), featuring work from artists in six countries, which took place in the centre of town at the Medieval Civic Museum. All profits were for survivors of the Japanese Tsunami, several old friends from Japan were amongst the exhibitors including Czech-based Iku Dekune, Junko Hayakawa and Kiyo Tanaka.
Then of course there were the parties. Monday night I was at the SCBWI knees-up at Livre Trame bookshop, but I didn't attend any of the publisher parties this year as evenings were tightly scheduled with dinner get togethers. It was good to be able to spend serious time with some friends and colleagues so I didn't miss the bigger events, from what I hear though there were plenty to choose from.
Overall I thought it was a great Fair, though perhaps somewhat more sedate than previous years. It seemed many editorial staff left early, in marked contrast to the intensely busy start to the Fair the last day was very quiet, several Stands shutting down early. A sign of the times perhaps?
There were many fine books on display, especially from Korea, which had a significantly enlarged section at the Fair. I can't pick out any specific titles I was particularly seized by, but I did like some of the simple graphic books covers from the US, as well as some of the more traditional and heavier work on display in the European stands.
Part of the Korea section
Jana Sedova displayed on one of the Russian stands
I loved this cover of Mabel and Me promoted at the Random House stand
Finally my congratulations go out to Peter Sis for winning the Hans Andersen Award! Fantastic news and very well deserved!
I didn't take quite as many photos as I'd have liked, however there are, or will shortly be, many more photos from my colleagues on Facebook, including the SCBWI Bologna page.
Day 1. With Bridget Strevens and Babette Cole during the British Isles Showcase at the SCBWI Stand
I arrived in the middle of the first day of the Fair and went straight from the airport to the SCBWI stand, anticipating the pace would gradually build up during the afternoon. Much to my surprise though the stand was already surrounded by a large crowd of people, from fellow SCBWI volunteers to publishers and other professionals. Bologna was off to a very hectic start! Monday was actually the busiest day for me, as I had a solid afternoon of meetings in quick succession, but Tuesday was also very tightly scheduled, it wasn't until the third day of the Fair that I really had chance to relax a little and spend time exploring the halls.
SCBWI had a very brisk Bologna, with a full daily programme of events and showcases throughout the Fair. This year we were blessed by the presence of president Lin Oliver, over from Los Angeles, who on Tuesday gave an inspiring talk at the Author's Cafe hosted by SCBWI International Coordinator Kathleen Ahrens.
Day 2. Lin Oliver at the Author's Cafe
On Wednesday I and several other illustrators performed sketching duels at the Stand. I was up against worthy opponents Bridget Strevens and Barbara McClintock, illustrating a story by Angela Cerrito, but I also provided an unscheduled acoustic guitar soundtrack to the Paul O. Zelinsky vs Bob Barner duel! It was a lot of fun for all involved.
Barbara McClintock, B&B share and opponent (with Bridget) at the Duelling Illustrators event.
Outside SCBWI the highlights of this year for me were the wonderful display of the Portugese Illustrators in the entrance hall, which I thought far superior to the Bologna Illustrators Show. Not only the illustrations, but the presentation was just lovely. Each red suitcase box was like a doorway into another fantastic world.
Portugal was Showcase country in the main entrance.
Another memorable experience was the Cambridge School of Art stand in Hall 25, surprising not only for the enterprising way an art college pooled together resources to run a stand at the Fair, but also the quality of the work on show. Under the auspices of director Martin Salisbury post-grad students put on a terrific display of sophisticated dummies and sometimes published works. It was a real shot in the arm for children's books in the UK - to my eyes the kind of work that should be published in the UK, rather than the all-too often bland selection of commercial titles on show at the stands.
Equally fascinating was the group exhibition Di Mano in Mano (From Hand to Hand 手から手へ), featuring work from artists in six countries, which took place in the centre of town at the Medieval Civic Museum. All profits were for survivors of the Japanese Tsunami, several old friends from Japan were amongst the exhibitors including Czech-based Iku Dekune, Junko Hayakawa and Kiyo Tanaka. Then of course there were the parties. Monday night I was at the SCBWI knees-up at Livre Trame bookshop, but I didn't attend any of the publisher parties this year as evenings were tightly scheduled with dinner get togethers. It was good to be able to spend serious time with some friends and colleagues so I didn't miss the bigger events, from what I hear though there were plenty to choose from.
Overall I thought it was a great Fair, though perhaps somewhat more sedate than previous years. It seemed many editorial staff left early, in marked contrast to the intensely busy start to the Fair the last day was very quiet, several Stands shutting down early. A sign of the times perhaps?
There were many fine books on display, especially from Korea, which had a significantly enlarged section at the Fair. I can't pick out any specific titles I was particularly seized by, but I did like some of the simple graphic books covers from the US, as well as some of the more traditional and heavier work on display in the European stands.
Part of the Korea section
Jana Sedova displayed on one of the Russian stands
I loved this cover of Mabel and Me promoted at the Random House stand
Finally my congratulations go out to Peter Sis for winning the Hans Andersen Award! Fantastic news and very well deserved!
I didn't take quite as many photos as I'd have liked, however there are, or will shortly be, many more photos from my colleagues on Facebook, including the SCBWI Bologna page.
March 11, 2012
More linework from Jack
I've just finished pen and ink drawing on Jack in the Beanstalk (or rather "Jack to Mame no Ki" to give the book it's correct Japanese title).
Before I plunge into the heady world of colour and start building up layers of watercolour, here are some more scans of the artwork at the black-and-white stage.
Before I plunge into the heady world of colour and start building up layers of watercolour, here are some more scans of the artwork at the black-and-white stage.
February 3, 2012
Jack in Progress
I just finished inking in! And yes, it's from Jack and the Beanstalk as many people soon spotted. This is the scene where Jack ignores his mother's pleading and ascends the beanstalk for the third and last time. The brooding clouds and tossed leaves are to suggest the trouble that lies ahead. Can you spot something unusual about those clouds?
It looks quite flat at the moment, but the clouds, drawn in thinned ink, will blend into the watercolour washes, while sharper colours on the beanstalk will pull out. Often half the lines blend in when I lay on colour, it's a problem I always have with my watercolour paintings, but I try to turn this to my advantage and use drawing to anchor washes and provide some tonal range without relying entirely on paint.
All that remains now is to paint it, but that won't be for a while yet, as I tend to draw all the spreads of a book first before switching to colour, there are still a lot of spreads awaiting the ink pot and pen.
February 2, 2012
Work in Progress
Can you guess which well known children's tale I'm illustrating at the moment?
It's one of the spreads from a new 44 page picture book for Japanese publisher Fukuinkan Shoten. The finished work will be in colour, at the moment I'm inking in the linework.
Fukuinkan can be described as quite a traditional publisher, being one of the oldest and most established houses in Japan. The requirements for this book are likewise in a traditional vein.
So have you guessed the story?
It's still unfinished, but here's the full drawing, half way through inking.
It's one of the spreads from a new 44 page picture book for Japanese publisher Fukuinkan Shoten. The finished work will be in colour, at the moment I'm inking in the linework.
Fukuinkan can be described as quite a traditional publisher, being one of the oldest and most established houses in Japan. The requirements for this book are likewise in a traditional vein.
So have you guessed the story?
It's still unfinished, but here's the full drawing, half way through inking.
January 17, 2012
More 1980's Studio work
Here are some more editorial illustrations from the beginning of my career in London in the mid-1980's, from music journals and listings magazines. A much harsher angle than my children's books of course, it was the post-punk era, we were all angry back then.
At that time most of my regular work was for the press, a lot of it in black and white, I've discovered literally piles of work from this era in my father's loft, it amazes me now how prolific I was then! Façade Studios was a time of great development for me. Much more than art college it was here, with a very talented and creative bunch of studio-mates, and with the harsher discipline of deadlines and desperate need to earn a living that technique, style and direction were honed. Fast ideas, fast deadlines, Good times. Though invariably under budgeted!
I forget what this was for!
City Limits magazine (showing the beginning of my fascination with Japan!)
City Limits magazine
City Limits again (I think)
New Musical Express letters page
Music press, not sure which one
Music Press again
At that time most of my regular work was for the press, a lot of it in black and white, I've discovered literally piles of work from this era in my father's loft, it amazes me now how prolific I was then! Façade Studios was a time of great development for me. Much more than art college it was here, with a very talented and creative bunch of studio-mates, and with the harsher discipline of deadlines and desperate need to earn a living that technique, style and direction were honed. Fast ideas, fast deadlines, Good times. Though invariably under budgeted!
I forget what this was for!
City Limits magazine (showing the beginning of my fascination with Japan!)
City Limits magazine
City Limits again (I think)
New Musical Express letters page
Music press, not sure which one
Music Press again
January 15, 2012
Early Work - political cartoons
Daughter and I spent part of the holiday season at my father's house. While rummaging around in his loft for my bits and pieces I was surprised and delighted to find piles and piles of my old artwork, some of it from school days in the 1970's, but also a great deal of my oldest professional work from my London studio in the 1980's. In those early days I shared a studio in Crouch End with illustrators Jane Ray and Willie Ryan, and graphic designers Chris Millett and Andy Royston. The collective, named Façade Studios, enabled me to work on a very wide range of material from press editorial to posters, as well as my main career of children's books. I haven't seen most of these pieces since I left for Japan in 1987.
Here's something very much of the period, though also timing nicely with the new movie on Margaret Thatcher. Some editorial cartoons, all from 1984/1985.
Lest we forget!
Ronald Ray-gun
Arthur Scargill's dream
The Sinking Pound (Norman Tebbit, Geoffrey Howe, Maggie Thatcher)
Christmas 1984
Here's something very much of the period, though also timing nicely with the new movie on Margaret Thatcher. Some editorial cartoons, all from 1984/1985.
Lest we forget!
Ronald Ray-gun
Arthur Scargill's dream
The Sinking Pound (Norman Tebbit, Geoffrey Howe, Maggie Thatcher)
Christmas 1984
January 3, 2012
New Year 2012
Best wishes for a prosperous and peaceful Year of the Dragon!
December 19, 2011
Seasons Greetings
Wishing everyone a wonderful Christmas, filled with dreams and festive cheer.
November 24, 2011
Giving Thanks, to turkeys?
Alas! Calamity! Halloween deadlines held up my marathon of daily sketches and I've been having a rest from the blog for a while. I'll pick up the sketching thread again soon though. In the meantime here's another editorial illustration from the regular bimonthly series I draw for ANA's inflight magazine Wingspan. This will be in the next issue and focuses on the annual French Turkey Festival (Fete de la Dinde), held in the town of Licques in December.
I'm a vegetarian myself, the last time I ate turkey was so long ago I don't even remember what it tastes like, so my appreciation of the bird is purely for it's looks. Nevertheless I dedicate this post to all my lovely friends in the US celebrating Thanksgiving (another celebration I've never experienced!)
I'm a vegetarian myself, the last time I ate turkey was so long ago I don't even remember what it tastes like, so my appreciation of the bird is purely for it's looks. Nevertheless I dedicate this post to all my lovely friends in the US celebrating Thanksgiving (another celebration I've never experienced!)
October 29, 2011
A Drawing a Day #48
Something a little scary for Halloween!
